奥斯卡获奖者英语演讲稿
奥斯卡颁奖典礼的英文获奖感言
奥斯卡颁奖典礼的英文获奖感言Thank you so much for this incredible honor. I am truly grateful and humbled to receive this Oscar tonight.First and foremost, I would like to express my deepest gratitude to the Academy for recognizing my work. It is a dream come true and I am overwhelmed with joy.I would like to thank my incredible cast and crew for their tireless dedication and hard work. Without their talent, support, and collaboration, this film would not have been possible.I also want to thank my family and friends for always believing in me and inspiring me to pursue my passion. Your unwavering support has been a driving force behind my success.To my mentors and teachers, thank you for guiding me and shaping me into the artist I am today. Your wisdom and guidance have been invaluable.Lastly, I want to express my appreciation to the audiences around the world. Your love and support for my work mean everything to me. I am deeply touched by the impact this film has had on people's lives.Receiving this award is a tremendous honor, and I promise to continue pushing boundaries and telling stories that matter. Thank you again for this incredible recognition.。
奥斯卡英文颁奖词(合集6篇)
奥斯卡英文颁奖词（合集6篇）篇1：莱昂纳多奥斯卡获奖感言英文莱昂纳多奥斯卡获奖感言英文莱昂纳多奥斯卡获奖感言英文，感言是指对某些事活人产生出来的想法并表达出来。
就像是国培感言大全。
因不同阶层和不同原因，感言的类型也多种多样，下面可以阅览优秀员工获奖感言英文。
莱昂纳多获奖感言英文原文如下：Thank you all so very much. Thank you to the Academy, thank you to all of you in this room. I have to congratulate the other incredible nominees this year. 'The Revenant’ was the product of the tireless efforts of an unbelievable cast and crew. First off, to my brother in this endeavor, Mr. Tom Hardy. Tom, your talent on screen can only be surpassed by your friendship off screen… thank you for creating a transcendent cinematic experience. Thank you to everybody at Fox and New Regency…my entire team. I h ave to thank everyone from the very onset of my career… To my parents, none of this would be possible without you. And to my friends, I love you dearly, you know who you are. fromAnd lastly I just want to say this: Making ‘The Revenant’ was about man's relationship to the natural world. A world that we collectively felt in as the hottest year in recorded history. Our production needed to move to the southern tip of this planet just to be able to find snow. Climate change is real, it is happening right now. It is the most urgent threat facing our entire species, and we need to work collectively together and stop procrastinating. We need to support leaders around the world who do not speak for the big polluters, but who speak for all of humanity, for the indigenous people of the world, for the billions and billions of underprivilegedpeople out there who would be most affected by this. For our children’s children, and for those people out there whose voices have been drowned out by the politics of greed. I thank you all for this amazing award tonight. Let us not take this planet for granted.I do not take tonight for granted. Thank you so very much.延伸拓展：译文：“谢谢你们所有人!非常感谢!谢谢学院!感谢其他所有提名者，他们都奉献了难以置信的表演，《荒野猎人》是一个产品，大家都永不疲倦的努力，这是个难以置信的演员和团队，我和他们一起合作很荣幸。
奥斯卡最佳电影导演勒布朗詹姆斯·卡梅隆TED英文演讲稿_1
奥斯卡最佳电影导演勒布朗詹姆斯·卡梅隆TED英文演讲稿下列这篇由站梳理给予的是《阿凡达》、《泰坦尼克号》的电影导演勒布朗詹姆斯·卡梅隆(James Cameron)的一篇TED演讲。
在这个演说里，卡梅隆回望了自身从传媒大学毕业之后踏入电影导演路面的小故事。
卡梅隆对你说，不必惧怕不成功，始终不必为自己限制。
大量演讲稿范文，热烈欢迎浏览站!I grew up on a steady diet of science fiction. In high school, I tooka bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know, that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples" -- frogs and snakes and bugs and pond water -- and bringing it back, looking at it under the microscope. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed mirrored in the world around me, because what was happening, this was in the late '60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.And I was an artist. I could draw. I could paint. And I found that because there weren't video gamesand this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description, put something on the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class doodling behind the textbook. That was -- the creativity had to find its outlet somehow.And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday -- that seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15.And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me.I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, and 500 hours of that was in submersibles. And I've learned that that deep-ocean environment, and even the shallow oceans,are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundlesscompared to our own meager human imagination.I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.But when I chose a career as an adult, it was filmmaking. And that seemed to be the best way to reconcile this urge I had to tell stories with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking was the way to put pictures and stories together, and that made sense. And of course the stories that I chose to tell were science fiction stories: "Terminator," "Aliens" and "The Abyss." And with "The Abyss," I was putting together my love of underwater and diving with filmmaking. So, you know, merging the two passions.Something interesting came out of "The Abyss," which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. And even though the film didn't make any money -- barely broke even, I should say -- I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with "Terminator 2," which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did, and we created magic again, and we had the same result with an audience -- although we did make a little more money on that one.So, drawing a line through those two dots of experience came to, "This is going to be a whole new world," this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friendStan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.But we found ourselves lagging in the mid '90s in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I was told by the folks at my company that we weren't going to be able to do this for a while.So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship: "It's going to be this epic romance,passionate film." Secretly, what I wanted to do was I wanted to dive to the real wreck of "Titanic." And that's why I made the movie. (Applause) And that's the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition. (Laughter)Sounds crazy. But this goes back to that theme about your imagination creating a reality. Because we actually created a reality where six months later, I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port. Not a movie, not HD -- for real. (Applause)Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives, was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, "Wow. I'm like, living in a science fiction movie. This is really cool."And so, I really got bitten by the bug of deep-ocean exploration. Of course, the curiosity, the science component of it -- it was everything. It was adventure, it was curiosity, it was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out that window. As we did some of our subsequent expeditions, I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at thetime that we saw them and imaged them.So, I was completely smitten by this, and had to do more. And so, I actually made a kind of curious decision. After the success of "Titanic,"I said, "OK, I'm going to park my day job as a Hollywood movie maker, and I'm going to go be a full-time explorer for a while." And so, we started planning theseexpeditions. And we wound up going to the Bismark, and exploring it with robotic vehicles. We went back to the Titanic wreck. We took little bots that we had created that spooled a fiber optic. And the idea was to go in and do an interior survey of that ship, which had never been done. Nobody had ever looked inside the wreck. They didn't have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played. And I'm flying a little robotic vehiclethrough the corridor of the ship. When I say, "I'm operating it," but my mind is in the vehicle. I felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience I've ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie. And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience. And it really made me realize that the telepresence experience -- that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really, really quite profound. And it may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing, amazing animals -- they're basically aliens right here on Earth. They live in an environment of chemosynthesis. They don't survive on sunlight-basedsystem the way we do. And so, you're seeing animals that are living next to a 500-degree-Centigradewater plumes. You think they can't possibly exist.At the same time I was getting very interested in space science as well -- again, it's the science fiction influence, as a kid. And I wound up getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going through the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 三维 camera systems. And this was fascinating. But whatI wound up doing was bringing space scientists with us into the deep. And taking them down so that they had access -- astrobiologists, planetary scientists, people who were interested in these extreme environments -- taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science. I'd completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real. And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn't really learn about leadership until I did these expeditions. Because I had to, at a certain point, say, "What am I doing out here? Why am I doing this? What do I get out of it?" We don't make money at these damn shows. We barely break even. There is no fame in it. People sort of think I went awaybetween "Titanic" and "Avatar" and was buffing my nails someplace, sitting at the beach. Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challenge --and the ocean is the most challenging environment there is -- for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. Because we would do these things with 10, 12 people, working for years at a time, sometimes at sea for two, three months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, "We had to do this, and the fiber optic, and the attentuation, and the this and the that, all the technology of it, and the difficulty, the human-performance aspects of working at sea," you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was "Avatar," I tried to apply that same principle of leadership, which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, in uncharted territory, doing "Avatar," coming up with new technology that didn't exist before. Tremendously exciting. Tremendously challenging. And we became a family, over a four-and-half year period. And it completely changed how I do movies. So, people have commented on how, "Well, you know, you brought back the ocean organisms and put them on the planet of Pandora." To me, it was more of a fundamental way of doing business, the process itself, that changedas a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young filmmakers come up to me and say, "Give me some advice for doing this." And I say, "Don't put limitations on yourself. Other people will do that for you -- don't do it to yourself, don't bet against yourself, and take risks."NASA has this phrase that they like: "Failure is not an option." But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not. Thank you. (Applause)译文翻译：我是看奇幻小说成长的。
奥斯卡颁奖典礼致辞
奥斯卡颁奖典礼致辞时间：2020年08月02日编稿：作者二第一篇：奥斯卡颁奖典礼致辞Academy Awards Speech奥斯卡颁奖典礼致辞I'm very grateful to receive this award for "Best Actress."I can't begin to tell you how much I appreciate this great honor. There are many people I'd like to thank. First of all, I want to thank my parents for bringing me into this world. I also want to express my gratitude to all of my teachers over the years, but especially to my acting teacher, Jim Jones. who taught me everything I know.I want to thank my husband for his understanding and kindness. And finally, I want to express my appreciation to all of my friends for their support, especially to Martin Miller, for being there when I needed him.This award means a great deal to me. Words can't express how honored I feel at this moment. I will remember this night for the rest of my life! Thank you very much.获此"最佳女主角"奖的荣誉，我深表谢谢。
经典奥斯卡获奖感言(中英双语)
经典奥斯卡获奖感言（中英双语）“Thank you. Thank you. You commie, homo-loving sons-of-guns......And particularly, as all, as actors know, our director either has the patience,talent and restraint to grant us a voice or they don't, and it goes from thebeginning of the meeting, to through the cutting room. And there is no finer hands to be in than Gus Van Sant. And finally, for those, two last finallies,for those who saw the signs of hatred as ourcars drove in tonight, I think that it is a good time for those who voted forthe ban against gay marriage to sit andreflect andanticipate their great shame andthe shame intheir grandchildren's eyes if they continue that way of support. We've got to have equal rights for everyone.And there are, these last two things. I'm very, very proud tolive in a country that is willing to elect an elegant manpresident and a country who, for all its toughness,creates courageous artists. And this is in great due respect to all the nominees, but courageous artists, who despite a sensitivity that sometimes has brought enormous challenge,Mickey Rourke rises again and he is m y brother.Thank you all very much.”谢谢你们。
英文获奖感言发言稿精选
英文获奖感言发言稿精选以下是为大家整理的英文发言稿篇一：Hi everyone,My name is Dongqi Yang from china, I am horror to be here today and I am very happy to receive this award.As you can imagine, as international students in Australia, the biggest challenge is English,I remembered that when I come here first time, there is a party in the house of my home stay. During the time, they played jokes and they laughed all the time, do you know how embarrassed that is, everyone laughed except you. So I pretend to understand the joke in another party, I saw everyone laugh and I laugh too in 5 seconds later. My home stay was surprised about that and asked me “do you understand?”，and I answered “no”，“So why do you laugh?” ”because I do not want to be embarrassed”!But as I receive this award today, I want to thank to them, because they encourage me to be involved with the committee rar than staying in at home, play computer and speak Chinese.When I came to Wantirna College first time, I met liz collar who is international student coordinator. She is very kind to me, and she encourage me join SRC, I went to SRC meetings regularly all the time, but I didn’t even know what SRC was! That is the reason why I told he r, I don’t want to go to SRC anymore. But she said “why not? You should go and you have to go!”I asked” why?” she said:” because I said so!”But as ii receive this award today, I want to thank her. She helps me a lot.Truth be told, I am not the best student in Wantirna College, but I appreciate this award and I will try my best in future.I think I got 10 seconds left, I want to thank to Les and Vera who is my lovely home stay, thanks to Liz collar who is international student coordinator, I strongly want to thank to my mother, because she support me and gave me the opportunity to come to Australia. And thanks to Wantinran College, thanks to Australia and finally, thanks to everyone to be here tonight.Have a great night.篇二：第83届奥斯卡金像奖将于北京时间2月28日上午9点(当地时间2月27日下午17点)在洛杉矶柯达剧院举行，Christian Bale获得第83届奥斯卡最佳男配角，下面是克里斯蒂安·贝尔的奥斯卡火箭感言演讲视频和。
奥斯卡最佳导演詹姆斯·卡梅隆TED英文演讲稿_英语演讲稿_
奥斯卡最佳导演詹姆斯·卡梅隆TED英文演讲稿以下这篇由站整理提供的是《阿凡达》、《泰坦尼克号》的导演詹姆斯·卡梅隆(James Cameron)的一篇TED演讲。
在这个演讲里，卡梅隆回顾了自己从电影学院毕业后走上导演道路的故事。
卡梅隆告诉你，不要畏惧失败，永远不要给自己设限。
更多，欢迎访问站!I grew up on a steady diet of science fiction. In high school, I took a bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know, that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples" -- frogs and snakes and bugs and pond water -- and bringing it back, looking at it under the microscope. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed mirrored in the world around me, because what was happening, this was in the late '60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.And I was an artist. I could draw. I could paint. And I found that because there weren't video gamesand this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description, putsomething on the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class doodling behind the textbook. That was -- the creativity had to find its outlet somehow.And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday -- that seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15. And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, and 500 hours of that was in submersibles. And I've learned that that deep-ocean environment, and even the shallow oceans,are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundlesscompared to our own meager human imagination. I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.But when I chose a career as an adult, it was filmmaking. And that seemed to be the best way to reconcile this urge I had to tell stories with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking was the way to put pictures and stories together, and that made sense. And of course the stories that I chose to tell were science fiction stories: "Terminator," "Aliens" and "The Abyss." And with "The Abyss," I was putting together my love of underwater and diving with filmmaking. So, you know, merging the two passions.Something interesting came out of "The Abyss," which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. And even though the film didn't make any money -- barely broke even, I should say -- I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with "Terminator 2," which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did, and we created magic again, and we had the same result with an audience -- although we did make a little more money on that one.So, drawing a line through those two dots of experiencecame to, "This is going to be a whole new world," this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friend Stan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.But we found ourselves lagging in the mid '90s in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I was told by the folks at my company that we weren't going to be able to do this for a while.So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship: "It's going to be this epic romance,passionate film." Secretly, what I wanted to do was I wanted to dive to the real wreck of "Titanic." And that's why I made the movie. (Applause) And that's the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition. (Laughter)Sounds crazy. But this goes back to that theme about yourimagination creating a reality. Because we actually created a reality where six months later, I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port. Not a movie, not HD -- for real. (Applause)Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives, was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, "Wow. I'm like, living in a science fiction movie. This is really cool."And so, I really got bitten by the bug of deep-ocean exploration. Of course, the curiosity, the science component of it -- it was everything. It was adventure, it was curiosity, it was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out that window. As we did some of our subsequent expeditions, I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.So, I was completely smitten by this, and had to do more. And so, I actually made a kind of curious decision. After the success of "Titanic," I said, "OK, I'm going to park my day job as a Hollywood movie maker, and I'm going to go be a full-time explorer for a while." And so, we started planning theseexpeditions. And we wound up going to the Bismark, andexploring it with robotic vehicles. We went back to the Titanic wreck. We took little bots that we had created that spooled a fiber optic. And the idea was to go in and do an interior survey of that ship, which had never been done. Nobody had ever looked inside the wreck. They didn't have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played. And I'm flying a little robotic vehiclethrough the corridor of the ship. When I say, "I'm operating it," but my mind is in the vehicle. I felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience I've ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie. And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience. And it really made me realize that the telepresence experience -- that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really, really quite profound. And it may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing, amazing animals -- they're basically aliens right here on Earth. They live in an environmentof chemosynthesis. They don't survive on sunlight-basedsystem the way we do. And so, you're seeing animals that are living next to a 500-degree-Centigradewater plumes. You think they can't possibly exist.At the same time I was getting very interested in space science as well -- again, it's the science fiction influence, as a kid. And I wound up getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going through the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems. And this was fascinating. But what I wound up doing was bringing space scientists with us into the deep. And taking them down so that they had access -- astrobiologists, planetary scientists, people who were interested in these extreme environments -- taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science. I'd completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real. And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn't really learn about leadership until I did these expeditions. Because I had to, at a certain point, say, "What am I doing out here? Why am I doing this? What do I get out of it?" We don't make money at these damn shows. We barely breakeven. There is no fame in it. People sort of think I went awaybetween "Titanic" and "Avatar" and was buffing my nails someplace, sitting at the beach. Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challenge --and the ocean is the most challenging environment there is -- for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. Because we would do these things with 10, 12 people, working for years at a time, sometimes at sea for two, three months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, "We had to do this, and the fiber optic, and the attentuation, and the this and the that, all the technology of it, and the difficulty, the human-performance aspects of working at sea," you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was "Avatar," I tried to apply that same principle of leadership, which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, in uncharted territory, doing "Avatar," coming up with new technology that didn't exist before. Tremendously exciting. Tremendously challenging. And we became a family, over a four-and-half year period. And it completely changed how I do movies. So, people have commented on how, "Well, youknow, you brought back the ocean organisms and put them on the planet of Pandora." To me, it was more of a fundamental way of doing business, the process itself, that changed as a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young filmmakers come up to me and say, "Give me some advice for doing this." And I say, "Don't put limitations on yourself. Other people will do that for you -- don't do it to yourself, don't bet against yourself, and take risks."NASA has this phrase that they like: "Failure is not an option." But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not. Thank you. (Applause)译文：我是看科幻小说长大的。
奥斯卡获奖感言英文
奥斯卡获奖感言英文第二次发生在1515年6月，塞利姆率军进攻奥斯曼帝国与萨法维帝国之间最小的一个国家杜尔戈地尔，杜尔戈地尔的一位王子在战前投靠了塞利姆，帮助他攻下己国首都。
接着塞利姆开始攻打库尔德斯坦，不过这个国家位于乌尔米耶湖至幼发拉底河之间，地形复杂。
塞利姆反复考量后，认为要征服该地需要大量的兵力，于是最终改而要求这个国家附庸奥斯曼帝国。
库尔德斯坦的首脑很快答应了塞利姆，周边一些部落也随之归降。
这让塞利姆控制了从安纳托利亚进入波斯的路线，他很快切断了西方到萨法维帝国的贸易。
奥斯卡获奖感言英文And the Oscar goes to Sean Penn.我认为一名优秀员工应该起到表率作用，应该以高度的主人翁精神，默默地奉献着光和热;应该抱着务实认真的工作态度，埋头苦干，敬业爱岗，勤勤恳恳地做好本职工作。
做工作要勤奋和有责任心，因为勤奋，能够提高生产效率，如前人所说的多一份耕耘，多一份收获;而有了责任心，在工作中就会认真细致，避免出现差错。
Thank you.Thank you.You commie,homo-loving sons-of-guns.I did not expect this,but I,and I want it to be very clear,that I do know how hard I make it to appreciate me often.But I am touched by the appreciation and I hoped for it enough that I did want to scribble down,so I had the names in case you were commie,homo-lovingsons-of-guns,and so I want to thank my best friend,Sata Matsuzawa.My circle of long-time support,Mara,Brian,Barry and Bob.The great Cleve Jones.Our wonderful writer,LanceBlack.Producers Bruce Cohen and Dan Jinks.回首当初，我怀着开创美好人生的期望来到酒店。
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奥斯卡获奖者英语演讲稿
Im very grateful to receive this award for best actress. I cant begin to tell you how much I appreciate this great honor.
能够获此最佳女主角奖，我非常感激。
我现在无法表达我是多么珍惜这个伟大的奖项。
There are many people Id like to thank. First of all, I want to thank my parents for bringing me into this world. I also want to express my gratitude to all of my teachers over the years, but especially to my acting teacher, Jim Jones, who taught me everything I know. I also want to thank my husband, for his understanding and kindness. And finally, I want to express my appreciation to all of my friends for their support, especially to Martin Miller, for being there when I needed him.
我想感谢的人很多。
首先，我想感谢我的父母把我带到这个世界上。
另外，我还想对这么多年来教过我的老师们表达谢意，尤其要感谢我的表演老师吉姆琼斯，他教会了我所知道的一切。
我还要感谢我的丈夫对我的理解与关怀。
最后，我想感谢我所有的朋友们，感谢他们对我的支持，特别要感谢马丁米勒，每当我需要他时，他总在我身边。
This award means a great deal to me. Words cant express how honored I feel at this moment. I will remember this night for the
rest of my life! Thank you very much!
这个奖项对我来说意义重大。
我感到万分荣幸，任何言辞都不能表达我此刻的心情。
这一晚我将永生难忘!非常感谢!。